Archive for the ‘Cinema’ Category

I’ve updated this post with links to Syrian-made films, over the fold…

I was interviewed for two documentary films on the Syrian revolution and war. I recommend both (and not because I’m in them).

The Impossible Revolution, by Anne Daly and Ronan Tynan, named after Yassin al-Haj Saleh’s essential book, is particularly good. It tells the story primarily with Syrian voices, and is beautifully made. For those interested, it also investigates the leftist failure to understand or engage with the revolution. You can watch or buy it on Amazon (here’s the UK link), or on Vimeo, here.

National Geographic’s Hell on Earth: The Fall of Syria and the Rise of ISIS, by Sebastian Junger, is also very good. And now on YouTube:

And…. look over the fold for Adnan Jetto’s ‘Jalila’, a Syrian-made documentary about women in the revolution.

Syria’s revolution triggered a volcano of long-repressed thought and emotion in cultural as well as political form. Independent newspapers and radio stations blossomed alongside popular poetry and street graffiti. This is a story largely untold in the West. Who knew, for instance, of the full houses, despite continuous bombardment, during Aleppo’s December 2013 theatre festival?

“Dancing in Damascus” by Arabist and critic miriam cooke (so she writes her name, uncapitalised) aims to fill the gap, surveying responses in various genres to revolution, repression, war and exile.

Dancing is construed both as metaphor for collective solidarity and debate – as Emma Goldman said, “If I can’t dance, it isn’t my revolution” – and as literal practice. At protests, Levantine dabke was elevated from ‘folklore’ to radical street-level defiance, just as popular songs were transformed into revolutionary anthems.

Cooke’s previous book “Dissident Syria” examined the regime’s pre-2011 attempts to defuse oppositional art while giving the impression of tolerance. The regime would fund films for international screening, for instance, but ban their domestic release.

by Souad al-Jundi

“Dancing in Damascus” describes how culture slipped the bounds of co-optation. Increasingly explicit prison novels and memoirs anticipated the uprising. Once the protests erupted, ‘artist-activists’ engaged in a “politics of insult” and irony. Shredding taboos, the Masasit Matte collective’s ‘Top Goon’ puppet shows, Ibrahim Qashoush’s songs and Ali Farzat’s cartoons targeted Bashaar al-Assad specifically. “The ability to laugh at the tyrant and his henchmen,” writes cooke, “helps to repair the brokenness of a fearful people.”

As the repression escalated, Syrians posted atrocity images in the hope they would mobilise solidarity abroad. This failed, but artistic responses to the violence helped transform trauma into “a collective, affective memory responsible to the future”.

In the first heady weeks of the Arab Spring commentators made much of the role played by social media, and certainly Facebook in particular provided an indispensable tool to young revolutionaries throughout the region. But less noticed, and ultimately far more significant, was the carnivalesque explosion of popular culture in revolutionary public spaces.

The protests in Syria against Bashaar al-Assad’s dictatorship were far from grim affairs. Despite the ever-present risk of bullets, Syrians expressed their hopes for dignity and rights through slogans, graffiti, cartoons, dances and songs.

To start with, protestors tried to reach central squares, hoping to emulate the Egyptians who occupied Tahrir Square. Week after week residents of Damascus’s eastern suburbs tried to reach the capital’s Abbasiyeen Square, and were shot down in their dozens. Tens of thousands did manage to occupy the Clock Square in Homs, where they sang and prayed, but in a matter of hours security washed them out with blood.

This April 2011 massacre tolled an early funeral bell for peaceful protest as a realistic strategy. In response to the unbearable repression, the revolution gradually militarised. By the summer of 2012 war was spinning in downward spiral: the regime added sectarian provocation to its ‘scorched earth’ tactics of bombardment and siege; foreign states and transnational jihadists piled in; those refugees who could got out.

Civil revolutionaries did their best to adapt. Alongside self-organising committees and councils, Syrians set up independent news agencies, tens of radio stations and well over 60 newspapers and magazines. Kafranbel, for instance, a rural town become famous for its witty and humane slogans, broadcasts discussion, news and women’s programmes on its own ‘Radio Fresh’ – despite a recent assault by Jabhat al-Nusra fighters. And Enab Baladi (My Country’s Grapes), is a newspaper published by women in Daraya, a besieged, shelled and gassed Damascus suburb. Remarkably, the magazine focuses on unarmed civil resistance.

As a result of both security concerns and communal solidarity, anonymous cooperative endeavours proliferated, amongst them photography collectives such as the Young Syrian Lenses.

Last summer I travelled in Morocco (where I used to live) in order to write an essay for the Maghreb issue of the Critical Muslim, which I also edited. This essay is available in full online (for free). To read the other essays, stories and poems (and there are some truly brilliant ones) you’ll have to buy the issue (available on Amazon) or subscribe. Please support the journal/ magazine by encouraging your local library/ college to subscribe.

Morocco’s Arabic name, ‘al-Maghreb’, emerges from the root gh-r-b, which denotes concepts including the west, distance, and alienation. ‘Ghareeb’ means strange. ‘Ightirab’ means living outside the Arab world, whether in the west or the east. ‘Maghreb’ also means sunset, dusk, the evening prayer, the time at which the daily fast is broken. Al-Maghreb al-Arabi refers to the entire Arab west – Libya, Algeria, Tunisia, Mauritania, the Western Sahara – but Morocco has no other name. It is al-Maghreb al-Aqsa, the furthest west, the strangest.

The ancient Egyptians believed they spent the afterlife wandering ‘the Western Lands’. William Burroughs, who lived in Tangier, wrote a novel inspired by the notion. When I lived in Morocco, teaching English at the turn of the century, a Syrian woman of my acquaintance used to play on the word like this: la tustughreb, anta fil-maghreb or, Don’t be shocked, you’re in Morocco! On this return visit I heard the same phrase from the mouth of a Moroccan man in a train.

But shocked I was, a little bit, twelve years ago.

I’d been living in the mashreq, the Arab east, before I arrived, and (foolishly) I expected the maghreb to be similar. I found a much more liberal place, one much less subject to taboo. For instance, depending on class and region, a Moroccan girl with a boyfriend is not quite the social catastrophe it would be further east. Moroccan sleaze is not hidden away (which is perhaps, overall, a good thing). I once almost pushed my son in his pushchair past men engaged in a sexual act, not in a dark basement but among the trees at the side of a main road. Several times I walked past the same exhibitionist in central Rabat. There were police nearby but they ignored him. And I frequently saw ragged street children sniffing glue-soaked rags, more of a South American scene than an Arab one. (I didn’t see that on this recent trip). In addition to public taboos, Moroccans lack the softness and eloquence, the courtliness, of the eastern Arabs. But they also lack the airs and graces, the intense class resentments, the hypocrisies. You don’t feel everyone is judging everyone else as you can do in the east, at least not in the same way, not to the same extent.

Then there were the contradictions, or perhaps the diversity, better put, of language, ethnicity, culture and, most of all, class. Parts of the big cities were comparable to Europe in their lifestyles and aspirations. Some of my students went to French-language schools, spent their holidays in Europe, and spoke French at home. Meanwhile much of the countryside was consigned to illiteracy and grinding poverty. There was almost no modern infrastructure out there. The people didn’t speak French. Some didn’t speak Arabic either.

I return twelve years later to Rabat, once my home, a handsome capital surrounded by red walls and built in that distinctive architectural style which connects Andalusia to West Africa. Rabat’s ‘new city’ contains tree-lined boulevards, embassies and white villas, and the enormous Makhzen (royal court) compound. The madina al-qadima (old city) and kasbah (fortified settlement) are to the west. A necropolis lies west of the madina. Then comes the beach and its piers, the crab-crawling rocks, and the cold Atlantic. The madina is neither traditional nor modern: it’s contemporary, and Moroccan traditions are an integrated part of contemporary life. The glossy-artisanal rue des Consuls is designed to serve foreigners, in the past and the present, but it’s by no means an over-touristed souq. The flea market in the mellah (what used to be the Jewish quarter) deals in antiques, broken office machines, and books – classics and curiosities in Arabic, French and English.

My visit comes in Ramadan, whose rhythm has overtaken the madina. This means quiet mornings and bustling afternoons. As the maghreb prayer calls, the sunset is dispersed by light Atlantic cloud, then the streets empty and silence reigns while the fast is broken. A fat moon rises. An hour later boys are sitting on the steps of the kasbah beating drums and singing traditional songs, not for show but to amuse themselves. A couple break into dance as they walk past. More drums and picnics down on the beach. The mosques are full (of both men and women) for Ramadan taraweeh prayers, and the markets are crammed until two in the morning.

The Institute of Contemporary Arts in London is hosting a film festival starting tomorrow. The festival begins with the discussion – ‘Is there a Muslim world?’ Panelists include Hamid Dabashi, Ziauddin Sardar, and me. Of the films being shown, I strongly recommend Salt of this Sea, a Palestinian film starring Suheir Hammad and Salah Bakri, and Hatem Ali’s The Long Night, on Syrian political prisoners and their families. I’m introducing that one. The ICA blurb is below. I hope to see you there.

The Arab Spring is the starting point for films selected for a festival at the Institute of Contemporary Arts from 21 September that, like this year’s mass demonstrations for democracy across Arab regions, is concerned with civic freedom; human rights; gender and social equality; the challenges of modernity; and the place of religion within social structures.